LA PRIMERA VUELTA
Embassy of Guatemala in France
In collaboration with Prescillia Millet
“Recently, the process of clearing out my grandparents' house began. It is right next door to mine, and I used to go there without fail every Wednesday and Sunday. Wednesdays were for the sewing circle: my mother and my six aunts would gather to embroider, while we grandchildren took over every corner of the house. On Sundays, my grandfather would cook lunch for everyone: usually jocón or some other hot traditional dish. How could I imagine never seeing that ladle—or my grandfather’s wine skins—again?”
The cyanotypes presented at this exhibition represent a first step in an attempt to remember, cherish, and honor the lives and stories behind everyday life.
They are an invitation to remember those "second homes" and to commemorate a deeply human, universal experience: the desire not to forget.”
How can I collect without having the object?
How can I keep a memory without possessing it?
“In an era where everything has become fleeting and disposable, I pause to reflect on what these objects, and their appreciation, symbolize beyond any personal meaning.”
These objects carry such weight because they had time: they lived through years; they were not discarded but cared for; they were durable, designed to endure, and passed down from generation to generation.
Remanentes
Transición suspendida
A ritual.
The entire act becomes a kind of ritual, in which the object—laden with such deep meaning and history—is placed down on the fabric. Its energy, along with its negative image, is imprinted onto the surface.
Thus, Eileen creates from the richness found in embracing her nostalgia, transforming it into something that will endure over time, just like the memory itself.
